Venice biennale. Gosha Ostretsov: I’ve been abducted hundreds of times
10/05 – 30/06
Palazzo Nani Bernardo
I’ve been abducted hundreds of times
This exhibition by Gosha Ostretsov, curated by Simon Njami, is a hallucination, a heterochrony, the archaeology of the future. Using the specific world of an artist, it will present history as a script in which components complement each other, break up and conduct a dialogue. These components are an Italian renaissance palazzo, relics of Soviet-era culture, archives, the interstellar flight, literature and, of course, the plasticity of Venice hosting the best examples of contemporary art from around the world. We have put our heads together to tell you a story where everyone can find himself or herself, a story of all forms and all periods in human history.
Having been abducted hundreds of times, I can assure you of the fallacy of the formula according to which there is only the present, a formula much beloved by philosophers and mystics, including Russian philosopher and spiritualist Helena Blavatsky. I have to say it: There is either our personal experience with a subjective view of the past, or projections of the future and future plans, because the present can be only de ned, and that with great dificulty, as a moment between these two notions. Furthermore, this moment (the present) is highly relative with regard to the other ten dimensions that we know to date. I’m sure that the current period of human civilization will become diluted amid cosmic stagnation. Modern culture is too weak to impress the Universe with its alleged achievements, unlike the ancient times, when Moses lifted his staff to part the waters of the Red Sea. This artefact of the noble old tradition, when the forces of Cosmos were subordinate to intelligent people on Earth, is only one of many we have inherited from previous civilizations. The art is an extrasensory and unde nable gift, which cannot be gauged but can change the spiritual nature of Man, making it supertemporal and at the same time current. We believe that we have systematized the world around us. We have created ideologies and political doctrines and are forcing the art to become their servant. The artistic discourse is divided into right and left dimensions, with the right/fascist/pro-government dimension currently prevailing. The West Semitic god Dagon, who is mentioned in the Name- less Cults of Friedrich von Junzt, “is closer to the Right Dimension – a kingdom of strict and unchangeable form, or pure power, which can only be seen by powerful sorcerers in the course of speci c rituals.” The symbol of the Left Discourse is God Cthulhu, a “ruler of the Left Aspect of the Universe, Pure Chaos and Madness.”
The knowledge I acquired on board the aliens’ spacecraft, which I scrutinized during my abduction, provides invaluable informa- tion about the initial forms of protoculture that we inherited from the outside. There are huge obelisks that contain information about events on Earth and about the alien origin of life all over the planet. These cyclopean sculptures are still standing in many parts of the world. In this project you can see several reduced copies of these obelisks, the reproductions of protocultural artefacts which I’ve seen in the aliens’ world. They also let me see the future, which is an unimaginable chimera and a combination of diverse possibilities: EMP and biological weapons, new ways to edit the DNA, the ghostlike ery cities, an all-absorbing smart biomass,the temples of fate, and the trip to the inner self (the non-aging baby).